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Track(s) taken from CDA67645


First line:
Des Morgens zwischen drein und vieren
July 1899; subsequently published as No 1 of Lieder (also called Sieben Lieder aus letzter Zeit)
author of text
Des Knaben Wunderhorn

Stephan Genz (baritone), Roger Vignoles (piano)
Recording details: February 2007
Tonstudio Teije van Geest, Sandhausen, Germany
Produced by Teije van Geest
Engineered by Teije van Geest
Release date: January 2008
Total duration: 6 minutes 36 seconds

Cover artwork: Apotheosis (detail) by Sergius Hruby (1869-1943)
Private Collection; reproduced by kind permission of the copyright holders, Whitford & Hughes, UK / Bridgeman Art Library, London


'Deeply affecting … warmly recommended' (Gramophone)

'Stephan Genz's light, warm and cultured baritone is especially fine in reflecting the ghost voices and moonlight serenades of Mahler's folk-inspired anthology … this is the first time that I've heard a male voice take on 'Urlicht' … and its quiet serenity, as in 'Wo die schonen trompeten blasen', is what Genz does best' (BBC Music Magazine)

'Urlicht is beautifully sung … and Vignoles's playing is remarkably expressive throughout' (The Sunday Times)

'The charm of Mahler's Lieder-composing style—so close to Schubert's—comes across beautifully. Stephan Genz is more than just a very fine singer: his precision, sensitivity and range of imagination proclaim him a true successor to the great Dietrich Fischer-Dieskau. And Vignoles's booklet note is an informative pleasure in itself' (Classic FM Magazine)

'This performance is a revelation, the simplicity of the piano setting and the serenity of Genz's performance casting a benediction on the entire program … Genz and Vignoles have produced a worthy successor' (Fanfare, USA)

'There are a number of other collections available … but none of these has the clear and unambiguous sound that this Hyperion release has, especially the excellent piano balance, and Genz sings with a definite point of view and a nice sense of characterization. You have to have one of the orchestral versions, but you will also find much satisfaction in Mahler’s superbly realized piano version as well, and this recording will serve many needs' (Audiophile Audition, USA)

'Roger Vignoles palpably revels in the task of conjuring a full Mahlerian orchestra … this CD is partly a demonstration of Genz's technique in this repertoire: the tone remains firm at even the most intimate levels and, most importantly, he binds consonants and vowels into the singing line, so that the lied emerges as a form of heightened speech. But it's a measure of Genz's sensitivity that one doesn't hear simply a great lieder singer at work. Instead, the entire set, with its panoply of characters, emanates from a recognizably 'Wunderhorn' persona—direct, ingenuous, fully in tune with the material's folklore-ish nature' (Opera News)

'It is a recording that seems, above all, to be characterised by enormous intelligence and sensitivity, from both singer and pianist … most prefer to here these songs in Mahler's brilliant and scathing orchestral versions but the artistry on show here makes me glad to hear them in the intimate, piano-only versions … this disc, then, allows us to experience these wonderful songs close-up in all their variety, humour and pathos. Highly Recommended' (Musical Criticism.com)

'This is a vibrant rendering of Mahler's Des Knaben Wunderhorn in the versions for voice and piano, a setting which requires the idiomatic approach Vignoles uses for the accompaniment and the nuanced tone Genz uses to evoke a sense of chamber music. Lacking the sonorous orchestral accompaniment, the singer is more exposed, and this allows Genz to display his vocal finesse well' (Opera Today, USA)

'Vignoles's pianism is so persuasive that one hardly misses the orchestral versions. In Revelge, for instance, his accompaniment to the song about the marching soldier has a suitably martial quality, while his playing of the lowest register of the piano to represent the drum rolls at the beginning of Der Tamboursg'sell is eerie and unforgettable. Genz, meanwhile, provides a well-characterised interpretation, his voice superbly controlled both in the vehemence of the prisoner's defiance in Lied des Verfolgten im Turm and in the beautiful pianissimos of Wo die schönen Trompeten blasen' (MusicOHM.com)
Revelge is a terrifying march of death, from the days when troops went into battle as though on parade. To the rattle of drums and blare of trumpets, it is propelled headlong from early morning reveille into the fury of charge and countercharge. Only when every man has been mown down does the pace slacken, transforming the smart military stride into the dry rattle of dead men’s bones, ghostly fanfares echoing across the stricken landscape. The final page, in which the dead drummer and his comrades rise up once more on parade, is cataclysmic in its effect.

from notes by Roger Vignoles © 2008

C'est l’un des lieder les plus tardifs et les plus longs du recueil: Revelge, terrifiante marche de la mort, du temps où les troupes s’en allaient au combat comme à la parade. Au bruit des tambours et à la sonnerie des trompettes, ce lied est précipité la tête la première du réveil, tôt le matin, à la furie de la charge et de la contre-attaque. Et c’est seulement lorsque tous les hommes ont été fauchés que l’allure ralentit, métamorphosant la vive cadence militaire en un fracas sec, celui des os des trépassés, tandis que de spectrales fanfares retentissent à travers le paysage dévasté. La page finale, où le tambour mort se relève, avec tous ses camarades, pour la parade, est d’un effet cataclysmique.

extrait des notes rédigées par Roger Vignoles © 2008
Français: Hypérion

Revelge ist ein grausiger Todesmarsch aus den Zeiten, als Truppen wie auf Parade in die Schlacht marschierten. Zum Rühren der Trommeln und Schmettern der Trompeten wird er vom Wecksignal am Morgen in den Aufruhr von Attacke und Gegenattacke gestürzt. Erst wenn jeder einzelne Mann niedergemäht ist, verlangsamt sich das Tempo und verwandelt den strammen Militärschritt in das trockene Ratteln der Gebeine der Toten, und gespenstische Fanfaren hallen aus der betroffenen Landschaft wider. Die letzte Seite, als der der tote Tambour und seine Kameraden noch einmal zur Parade aufstehen, besitzt katastrophische Wirkung.

aus dem Begleittext von Roger Vignoles © 2008
Deutsch: Renate Wendel

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